Vocabulary
Diatonic Triads: a triad in the key
Major Chord: major third under minor third
Minor Chord: minor third under major third
Augmented Chord: major third under major third
Diminished Chord: minor third under minor third
Primary Triad: triads built on 1st, 4th, or 5th steps of the scale
Secondary Triad: a triad that isn't a primary triad
Root Position: FACEGBD
First Inversion: take the root and stack it on top
Second Inversion: take the root of the chord from first inversion and stack it on top
Figured Bass: the baseline of the chord progression, based on inversions/numerals of chords
Progression: forward
Retrogression: backward
Cadence: 2-chord progression that occurs at the end of a phrase
Imperfect Authentic Cadence: V-I, but allows for inversions, or permits the soprano voice to finish on a note other than the tonic
Perfect Authentic Cadence: V-I, both root-position chords, with the topmost voice (soprano) ending on the tonic note
Plagal Cadence: ends IV-I ("Amen")
Deceptive Cadence: ends V-vi
Half Cadence: requires the resting of a musical phrase, and a chord progression that ends on a V-chord.
Diatonic Triads: a triad in the key
Major Chord: major third under minor third
Minor Chord: minor third under major third
Augmented Chord: major third under major third
Diminished Chord: minor third under minor third
Primary Triad: triads built on 1st, 4th, or 5th steps of the scale
Secondary Triad: a triad that isn't a primary triad
Root Position: FACEGBD
First Inversion: take the root and stack it on top
Second Inversion: take the root of the chord from first inversion and stack it on top
Figured Bass: the baseline of the chord progression, based on inversions/numerals of chords
Progression: forward
Retrogression: backward
Cadence: 2-chord progression that occurs at the end of a phrase
Imperfect Authentic Cadence: V-I, but allows for inversions, or permits the soprano voice to finish on a note other than the tonic
Perfect Authentic Cadence: V-I, both root-position chords, with the topmost voice (soprano) ending on the tonic note
Plagal Cadence: ends IV-I ("Amen")
Deceptive Cadence: ends V-vi
Half Cadence: requires the resting of a musical phrase, and a chord progression that ends on a V-chord.